New York Magazine (Vulture)'s Scores

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For 3,957 reviews, this publication has graded:
  • 47% higher than the average critic
  • 2% same as the average critic
  • 51% lower than the average critic
On average, this publication grades 0.6 points lower than other critics. (0-100 point scale)
Average Movie review score: 64
Highest review score: 100 Hell or High Water
Lowest review score: 0 Daddy's Home 2
Score distribution:
  1. Positive: 2,217 out of 3957
  2. Mixed: 1,377 out of 3957
  3. Negative: 363 out of 3957
3957 movie reviews
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  1. The Last Witch Hunter
    Watching The Last Witch Hunter is like sitting by while someone else plays a game whose coolness eludes us.
  2. Heart of a Dog
    Anderson says that as a child she dreamed of making something that had never been made before, and, with the help of some gifted artists and editors and camera-people, she has done it again — with bells on. The only thing that would make it more pleasurable would be Anderson narrating it in person.
  3. Beasts of No Nation
    Fukunaga’s hurtling camera and taut cutting keep Beasts of No Nation only just this side of hallucinatory, and Elba is the kind of titanic actor to kick it to a near-mythic level.
  4. Truth
    The most engrossing part of Truth is the gradual, grueling retreat from the story, first by its participants and then by the network that broadcast it.
  5. Goosebumps
    The movie version of Goosebumps replicates that balancing act. It’s a cheerful, nasty delight.
  6. Room
    Room is astonishing: It transmutes a lurid, true-crime situation into a fairy tale in which fairy tales are a source of survival.
  7. Crimson Peak
    It doesn’t always seem to know what it wants to be. But it’s still full of marvels.
  8. Pan
    Careens helplessly between the garish and the generic.
  9. Labyrinth of Lies
    Here’s a movie about the efforts to bring the soldiers stationed at Auschwitz to justice, and it’s strangely light on its feet.
  10. Steve Jobs
    The first act is a thing of beauty and the second, good enough. Shame about that third act, though, and the ending that retroactively diminishes everything that preceded it.
  11. Experimenter
    Experimenter is busily, thrillingly reflective. Its artificiality makes it seem even more alive, more in the present tense.
  12. Jafar Panahi's Taxi
    Taxi is a strange movie. These are nonprofessional actors, and the film veers between documentary realism and playful staginess.
  13. Bridge of Spies
    It’s Rylance who keeps Bridge of Spies standing. He gives a teeny, witty, fabulously non-emotive performance, every line musical and slightly ironic — the irony being his forthright refusal to deceive in a world founded on lies.
  14. Freeheld
    Perhaps seeking not to sensationalize or to Hollywood-ize a story set in a drab, mundane world, Sollett shoots without any frills. That’s usually a good thing, but here it helps to suck the life out of the material — in part because Nyswaner’s screenplay seems to have settled for the most direct, speechifying way of dramatizing the issues at hand.
  15. The Martian
    The Martian is shot, designed, computer-generated, and scripted on a level that makes most films of its ilk look slipshod. Scott and writer Drew Goddard aren’t trying to make an “important” sci-fi movie like Interstellar. They aim lower but blow past their marks.
  16. The Walk
    The problem — not fatal — with The Walk is that the narrative wire droops between the movie’s opening and final sequences.
  17. Hotel Transylvania 2
    Hotel Transylvania 2 is minor, to be sure, but given the comedian’s recent work, it still counts as a pleasant surprise.
  18. Finders Keepers
    It’s a tale of class privilege gone wrong, the relentless hunger for fame, stoic mourning and submerged family neuroses, and the crazy contortions caused by money and ownership. In 82 svelte minutes, Finders Keepers encapsulates something ineffable about the modern American experience.
  19. Mississippi Grind
    A film that turns on this kind of ambiguity would ordinarily be cold, grim, paranoid. But Boden and Fleck give this world texture and warmth; their widescreen interiors glow, and it’s hard not to be lulled into them by the siren song of conversation and clinking drinks and possibility.
  20. The Keeping Room
    The Keeping Room is slow and rather arty, with a chamber-music (plus harmonica and fiddle) score and cinematography that shrouds the faces in shadow. But it’s a fine piece of storytelling and earns its look and feel.
  21. The Intern
    The Intern degenerates into a series of monologues about ambition and relationships and having it all. As the speeches pile up, our goodwill dissipates, and so does the film’s magic.
  22. Stonewall
    Unfortunately, Roland Emmerich is a terrible filmmaker, and his efforts to make his protagonist "relatable" backfire spectacularly.
  23. The Green Inferno
    Unlike the '70s Italian cannibal movies, The Green Inferno doesn’t have a mondo vibe. It’s artfully made and acted with skill.
  24. 99 Homes
    Bahrani’s casting of Dern is genius. She’s such a profoundly unaffected actress that you instantly buy her aversion to her son’s lucre. She has a moral and aesthetic problem with that tacky mansion on the waterway. She wouldn’t fit in there.
  25. Prophet's Prey
    At times, I found myself wishing Berg focused more on Brower and Krakauer’s investigations and given the film a more present-tense narrative. This is a fascinating movie, but there’s a lot to cover here, and one can occasionally feel lost amid all the strands.
  26. The Cut
    There is little doubt throughout that it’s a work of artistry, grace, and, yes, outrage.
  27. Pawn Sacrifice
    This is another moderately interesting but shallow biopic with an actor going for broke — to win, not to draw.
  28. Captive
    You’re left with no real catharsis — religious or emotional. And without that, Captive winds up building to a big nothing.
  29. Sicario
    What keeps Sicario from cynicism is the nature and depth of Villeneuve’s gaze, not childishly wide-eyed but capable still of feeling pain. He’s a terrific director. You know that if his heroine, Alice, gets out of Cartel-land alive, she might spend a few months in an asylum, but she’ll be back, hell-bent on seizing the foreground.
  30. Black Mass
    Johnny Depp makes a valiant stab at the part, but even with his hair thinned and lightened and his face hardened, Depp remains Depp: I never forgot I was watching a big star doing an impersonation. It’s as if the spirit of a psychopath like Bulger resists the camera. Or maybe the movie isn’t imaginative enough to penetrate his shell.
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